Born in Niigata Prefecture in 1993. Through expressions that delve into subtle tactile and olfactory experiences, she explores the relationship between human life expectancy and the permanence of memories. Her main works include "300年のヒント," "わたしの虹色の手足、わたしの虹色の楽器," and "宝石の展望台から湖が見える."
Carrying two or three heavy plastic bags from the supermarket in front of the station, I enter the entrance and, after placing my bags on the floor, proceed to take off all my clothes. I shower with those feet before finally stepping into my room. A tiny 5-tatami mat room that is completely filled with a bed, a bookshelf, and a clothing rack. I wipe my smartphone with an alcohol wet wipe, clean the doorknob, wipe down the package of natto I bought, dispose of it in a bag, seal it, and put it back out at the entrance.
Even as I write this, I can't believe I was doing that voluntarily. I am inherently a very easygoing person when it comes to hygiene. The invisible virus spreading somewhere in this vicinity, along with the discomfort of living alone after a long time, became a significant anxiety that took residence in my heart, leading me to try to eliminate it through every conceivable action, even doubting my own skin and breath.
Having quit my job, I hastily decided on a one-room apartment a ten-minute walk from Asagaya Station, which I originally intended to be a temporary residence. I thought any place would be fine since I would only be returning to sleep, so I chose a cheap apartment without key money or deposit near my favorite gelato shop without much inspection. I began to regret this move a little, thinking it shouldn't have been like this. In a room where there was nowhere to sit except on the bed, I can confidently say the spring of 2020, which arrived without anything in particular to do, was a very special time in my life.